Modern & Contemporary Art Exhibitions in Naples

The works are exhibited in the gallery space like 'Ex-Voto' in a church, each 'POST' keeps its autonomy, they are hung close to each other, without hierarchy nor classification. Each 'Post'-work is numbered on the back in advance. Each exhibited 'Post'-work can be purchased for 500 Euros (+5% VAT), but the purchaser cannot choose the work. The purchaser must pick, without visibility, a numbered paper, and by chance will get the corresponding numbered work. The exhibition "EX-VOTO-TOMBOLA" reunites about 300 works (cardboard, printed matter, felt-pen, ballpoint-pen, paper, tape) from the series 'POST'. I made them during 2025 and 2026, and posted some of them (therefore the title 'POST') on my Instagram-Account. The "TOMBOLA" part wants to 'un-digitalize' and also 'popularize' the 'Post'-works. The "TOMBOLA" part is an entity inherent to this specific exhibition and will end with its dismantling. It’s a new proposal for acquiring an artwork. Therefore, the 'Post'-works included in "EX-VOTO-TOMBOLA" will not be available at the gallery after the end of the exhibition.

Marta Ravasi HEI-HO 24 Settembre – 9 Novembre 2026 Zeus' brain, a particularly exquisite food -Marta Ravasi's 9 Wombs at Acappella Gallery- living nature / still life movement / stasis internal / external content / form message / messenger unit / plurality The Diòs enkèfalos was attributed by the ancients to what was superlative, with particular reference to food: something so exquisite that it deserved proximity to the head of Zeus. Some foods -including fruits - with perfectly completed shapes carry with them a promise of alteration. Of the three basic shapes, the circle, a polygon with an infinite number of sides, is the one that most easily seems to be able to escape itself. It only takes a little pressure for it to become oval, a growth for it to swell, a sag for it to bend. From a geometry with no beginning or end, an organic form can emerge, subject to growth, mutation, bending, and liquidity. Bruno Munari writes that a form can have “already within itself an indication of the direction of movement”, that is, an intrinsic vital sense. The implicit tension of a natural object is perceived, therefore, in its capacity for change on the time axis. What is imperturbable to the variables of microscopic dynamics - and is apparently static, firm, immutable - may be a mirror of an apparent fixity on whose mantle, instead, life flows. The stability found in an irregular configuration tells the story of the infinite suspension of a patwhich moves in two opposite directions: gravitropic and phototropic. ‘ The root system ’, the system of roots, of the seed, of the past mirrors ‘ the fruit system ’, the system of the fruit, of the product, of the future showing, in the fixed instant, a present embraced by its becoming: not a crystallized condition, but the provisional point - of waiting - in which opposite directions meet. The exquisite fruit therefore seems touched by divine lustre not only for the association cerebral, but for a deeper kinship with the generative body of Zeus. The gestation of Dionysus, outside the uterus but in a cavity of the body that suddenly becomes matrix, introduces a new anatomy of birth. A thigh can become a lap, a bowl can become a belly, a basket It is a domestic and primordial cavity: a space capable of guarding a transformation. In that dimension, every fruit is fulfilled matter and promise of fulfillment and painting takes place further gestation, in which the visible is cradled before becoming fully himself. Every surface is a membrane, wrapped in shades of carnal colors that remove the fruits from botanical evidence and reunite them with body size. In threshold colors, we witness the formation of identities: each twin form becomes the guardian of a facet of the self. It is in this infinite twinning that the soul moves on a path in seek, according to Plotinus, ensuring a movement that does not lose its center, even if walking away in search of his own selves. But every perimeter is a trace for a return, a gravitation, near or far, which always accompanies home.

Thomas Dane Gallery is delighted to premiere a new single screen video installation by Paul Pfeiffer: Pasodoble (2026). Filmed across three interconnected sites—a bull breeding farm outside Seville, an historic bullring in Bilbao, and a mobile broadcast van outside that bullring—the work traces the networks that sustain one of the world’s most enduring and contested public spectacles: bullfighting. Together, these three sites form an interconnected ecology in which labour, performance and mediation sustain “a regime of sensory immersion that orchestrates perception.”[1] In Pasodoble, Pfeiffer turns his attention to the structures and practices that frame, circulate and perpetuate the ritual event of the corrida. The bullring emerges as a place where the visceral and the theatrical converge, a space in which gestures, audiences and architecture combine to produce a complexly orchestrated collective experience. Working across these three sites, in a digressive and nonlinear form, Pfeiffer shifts his attention away from the climactic moments traditionally associated with the corrida. Instead, Pasodoble foregrounds the intricate and interdependent dynamics by which collective acts of witness and imaging, enfolded in intense sonic structures organised around violent acts, produce profound instances of feeling and complexly coded meanings. If, as Maya Deren wrote, “[a] ritual is an action distinguished from all others in that it seeks the realization of its purpose through the exercise of form,” and therefore “[i]n ritual, the form is the meaning,”[2] then Pfeiffer’s Pasodoble disaggregates and reassesses the elaboration of this ritual form across the varying sites and practices that sustain bullfighting’s choreography of life and death. Throughout his practice, Pfeiffer has explored the cultural power of spectacle, and the ways in which images reorganise desire, belief and memory as core elements within elaborate technologies of mediation and representation that act on our collective consciousness. Within that framework, sound, language, and mimicry—whether in the form of the speech choir (Live from Neverland, 2006), a pop song (Incarnator, 2019), or military music (The Saints, 2007)—have served as significant aesthetic materials in Pfeiffer’s examination of the historical movements of meaning through the imperial and diasporic circuits of culture. This new work extends those longstanding concerns, and resonates with earlier works like Red Green Blue (2022–23), Three Figures in a Room (2015), and The Saints (2007) by approaching mass public rituals, and their corollary architectures and techniques, as a lens through which broader questions of spectatorship, power and collective feeling can be richly considered through their historical evolution and their aesthetic forms. Paul Pfeiffer (b. Honolulu, Hawai’i, 1966) lives and works in New York. He has received numerous awards and fellowships including a Fulbright-Hayes Fellowship and the Bucksbaum Award from the Whitney Museum. He has exhibited internationally, with selected solo exhibitions including: Vitruvian Figure (Juventus), Pista 500, Pinacoteca Agnelli, Turin, Italy (2025); Paul Pfeiffer: Prologue to the Story of the Birth of Freedom, The Museum of Contemporary Art, Los Angeles CA (2023; travelling to Guggenheim Bilbao, Spain, 2024, and Museum of Contemporary Art Chicago, Chicago IL, 2025); Vitruvian Experiments, Inhotim Institute, Brumadinho, Brazil (2018); Incarnator, Bellas Artes Outpost, Manila, Philippines (2018); Screen Series, Museum of Contemporary Art Chicago, Chicago IL (2017); Caryatids, Honolulu Museum of Art, Hawai’i HI (2016); Vitruvian Figure, Museum of Contemporary Art and Design, Malate Manila, Philippines (2015); Paul Pfeiffer, Sammlung Goetz, Munich, Germany (2011); In the Zone, Albright-Knox Gallery, Buffalo NY (2010); The Saints, Nationalgalerie im Hamburger Bahnhof, Berlin (2009); Monologue, MUSAC León, Léon, Spain (2008); and Whitney Museum of American Art (2001). His work is held in international collections including Broad Contemporary Art Museum, Santa Monica CA; Hirshhorn Museum and Sculpture Garden, Washington DC; Guggenheim Museum, New York NY; LACMA, Los Angeles CA; MoMA, New York NY; Museum of Contemporary Art Chicago, Chicago IL; Nasher Museum of Art, Durham NC; Castello di Rivoli, Turin, Italy; Hamburger Bahnhof, Berlin, Germany; Pinault Collection, Paris, France; Julia Stoschek Collection, Dusseldorf, Germany; and Tate, London, England.

Alfonso Artiaco is pleased to present storie del giardino, Gianmarco Biele’s first solo exhibition with the gallery, curated by Mario Francesco Simeone. Bringing together nine new paintings and a sculptural intervention, the exhibition is the outcome of an extensive body of research centered on the garden. Long at the core of Biele’s practice, the garden emerges as a subject of profound symbolic complexity – an ancestral topos through which to reflect on the